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Writing and reading Byzantine secular poetry, 1025-1081 /
In the mid-11th century, secular Byzantine poetry attained a hitherto unseen degree of wit, vividness, and personal involvement. This volume considers this poetic activity as a whole, focusing on Byzantine conceptions of the role of poetry in society.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés Griego Antiguo |
| Publicado: |
Oxford :
Oxford University Press,
2014.
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| Edición: | First edition. |
| Colección: | Oxford studies in Byzantium.
|
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- ""Cover""; ""Writing and Reading Byzantine Secular Poetry, 1025�1081""; ""Copyright""; ""Dedication""; ""Acknowledgements""; ""Contents""; ""List of Figures""; ""List of Abbreviations""; ""Note to the Reader""; ""1: Introduction""; ""1.1. BUILDING A BRIDGE""; ""1.2. THE ELEVENTH CENTURY: SOME TENDENCIES""; ""1.3. POETIC TEXTS IN BYZANTIUM, 1025�1081""; ""2: Concepts""; ""2.1. WRITING POETRY: CONTEMPORARY EVIDENCE""; ""2.2. POETRY, HOI LOGOI, AND RHETORIC""; ""2.3. POI�SIS AND POI�T�S""; ""2.4. POETRY AND LITERARY TRADITION""; ""3: Readings""
- ""3.1. READING POETRY: THE TANGIBLE REMAINS""""3.1.1. Poetry in public spaces""; ""3.1.2. Poetry in manuscripts""; ""3.1.3. Visual aspects of reading poetry""; ""3.2. TWO ACCOUNTS OF READINGS""; ""3.2.1. Reading a funeral oration: Christophoros 75�79""; ""3.2.2. Reading an inscription: Mauropous 32�33""; ""3.3. CONTEMPORARY CIRCULATION OF POETRY""; ""3.3.1. Scrolls and separate leaves""; ""3.3.2. Reading circles""; ""3.4. PERFORMANCE OF POETRY""; ""3.4.1. Acoustic aspects of poetry""; ""3.4.2. Poetry to be sung""; ""3.4.3. Ceremonial poetry""; ""3.5. REAL WORLD OR WORLD ON PAPER?""
- ""3.5.1. Deixis and speech situations""""3.5.2. Switching contexts""; ""4: Collections""; ""4.1. MINOR GROUPINGS OF POEMS""; ""4.2. MAUROPOUS� POETRY BOOK: A LIFE IN VERSE""; ""4.2.1. Vat. gr. 676: words materialized""; ""4.2.2. A double preface""; ""4.2.3. A progressive biographical logic""; ""4.2.4. Discontinuity as a continuous message""; ""4.3. VARIOUS VERSES: CHRISTOPHOROS �COLLECTION""; ""5: Ambitions""; ""5.1. PRELUDE: THE VOICE OF THE OUTSIDER""; ""5.2. THE �BEAMTENLITERAT�""; ""5.2.1. New social trajectories""; ""5.2.2. A meritocratic model""; ""5.3. DISPLAY""
- ""5.3.1. Textual production and display""""5.3.2. A poem for a job""; ""5.3.3. Insects and fruit: epideictic pieces""; ""5.4. SHAPING AN ELITE""; ""5.4.1. Distinction""; ""5.4.2. Forging friendships""; ""5.4.3. An urbane ethos""; ""5.5. AMBITIONS AND ETHICAL CONSTRAINTS""; ""5.5.1. The ethic of disinterestedness""; ""5.5.2. Mauropous� self-representation: between ambition and resignation""; ""6: Education""; ""6.1. LEARNING POETRY AT SCHOOL""; ""6.1.1. Schools in eleventh-century Byzantium""; ""6.1.2. The teaching of poetry""; ""6.1.3. Poetic exercises""
- ""6.2. TEACHING WITH POETRY: DIDACTIC VERSE""""6.2.1. Serious games: the charms of didactic verse""; ""6.2.2. The synoptic quality of poetry""; ""6.2.3. A classroom setting""; ""6.3. PUBLIC AND DEDICATEES OF DIDACTIC POETRY""; ""6.3.1. Political verse: an ambiguous metre""; ""6.3.2. Imperial tastes""; ""6.3.3. Recycling poems""; ""7: Competitions""; ""7.1. THE LOGIKOS AGON""; ""7.2. THE SCHEDOS CONTESTS""; ""7.3. DERISION AND ABUSE""; ""7.4. POETIC CONTESTS IN CHRISTOPHOROS� COLLECTION""; ""7.5. PSELLOS AND SABBA�TES: A POETIC AGON""; ""8: Patronage""; ""8.1. SOLICITING PATRONAGE""